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Anyone who's putting money into your movie would always rather you cast well-known people.

Noah Baumbach

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Noah Baumbach
Age: 55
Born: 1969
Born: September 3
Film Director
Film Producer
Screenwriter
Writer
Brooklyn
New York
Always
Putting
Would
Movie
People
Anyone
Known
Rather
Money
Wells
Cast
Well
Casts

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Nothing that I've turned down do I feel like I should have done. Because I've generated everything I've done, I've never really considered doing something that I haven't originated myself. There are definitely things that I've been brought that someone else made good movies out of. But it's not a path I've followed, so I don't have regret.
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Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It's always interesting how people handle those decisions and those moments.
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When I meet certain filmmakers, sometimes you sit down and you do have some kind of shorthand. It can be fun to see them as someone who has been through similar experiences, but also as someone who just loves film. You can talk with them about films in a way that feels really free.
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I think I was going through a lot of change at 27, but I didn't know it was happening until it was over.
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Defining yourself by your taste is easier than defining yourself by any genuine stance on something.
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I try to write 'and it's all very funny' after each scene description so that the reader can imagine the movie in their head.
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I'm interested in music as an extension of character.
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I've always liked working with friends or, you know, people I have outside relationships with.
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I used a video camera, and shot on film cameras at school and stuff, but I had a lot more training as a writer. I kind of live like a writer. I get up and I write. I've done that my whole life.
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I was late to the Knicks. My dad was a big fan. But I first started watching baseball I became a Red Sox fan. My dad was a Mets fan. I wanted to have my own team and league.
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I get a lot of responses to my movies. Some people say, 'Oh, I thought it was really funny - I hope that's okay!' And my answer always is 'Yes. It's totally okay.'
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That's the nice thing about collaborating with someone: Your work becomes a conversation.
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It's always really special to be at the New York Film Festival, and always a real privilege.
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Music is like color or acting or whatever. It's really something I think about from the beginning. Not that I always know exactly what I'm going to use, but I don't see it as something like, Let's find some songs now! after we have a finished film.
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I like to try to keep things as relaxed and easy as possible. I mean, movies generally attract a lot of people who like to cause fires, so they can later try to put them out. But I don't like that kind of thing.
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I'm curious how people build up the codes that they live their life by, and how they come to think that that's the best way for them to function.
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How you start the movie is critical. And how often you feel that there's no reason for how it's starting.
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It's near impossible to make a movie in black and white in the system.
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I read all the time. Sometimes I get asked if I've thought about writing a novel.
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I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.
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